Sweden through the artist's eye

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SWEDEN

THROUGH THE ARTIST'S EYE

BY

CARL G. LAURIN

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SWEDEN

Digitized by the Internet Archive

in 2011 with funding from

Boston Public Library

http://www.archive.org/details/swedenthroughartOOIaur

SWEDEN

THROUGH THE ARTIST'S EYE

BY CARL G. LAURIN

STOCKHOLM, P. A. NORSTKDT & SON EH

^ >a^on'S.0 5-'^\

PRINTEn AT

CENTRALTRYCKERIET

STOCKHOLJI 1911

THIi COLOUR AND AUTOTYPIi PLATKS
HAVE BKEN SUPPLIED BY

A. hortzell's phintint, r.o., ltd.

STOCKHOLM

PRINTED ON PAPIR

FROM

.L H. MUNKTELI.'s PAPER MILL

GRYCKSBO

ALL RIGHTS RESERVED.
Copyright 1911 by P. A. Norstedt S: Soner, Stockholm

y9'^^.

Englished Inj MI< GRET<\n.LE GliOVi:.

MR GIU-SVII.LI-: OnOVi: S IransUiHon of Mli CMil.
LMIUS S te.rl has been cdiled. the Swedish form and
s/)f///n(7 of Swedish cjeographieal names carried throatjh
and the verses rendered metrieallii by DI< HKSltV
BVEBGIiL GOODWIS: A French and a German trans-
hilioii will be published simultancoushi.

OL'K COLNTKY

Pain iJNc

iiv OTTO MKSSEI.HO.M

XAMOXAI. MLSKl'M

Fall, (Christmas snow, and blow, ye Norlli and West,
O'er fen and moor your deepest, rictiest sound,
Burn, star < f the East, in the June night blest,
Sweden, our mother, be our strife, our rest.
Land, to our sons be thou our dear bc(|ucsl.
Earth, where our fathers sleep in sacred ground.

So sings a poet who has entered deeply into Swedish nature and Swedish
Hfe. 'Sweden, our mother!" We love our mother, hut we do not find it easy
to dilate on her merits to any passing stranger. W'e know full well that there
are other mothers, more heauliful, mightier, wiser than ours. We do not claim
from others anything beyond respect for our mother, hut we ourselves know
what treasures we have received from her. Great painters have often been
strikingly successful in painting or drawing their mothers. Love and reverence
have guided their hands, and given birth to creations of immortal beauty. Think
of Diircr's drawing, of Rembrandt's, Whistlers and Carl Larsson's paintings of
their mothers. The pent-up springs gush forth, loosened by love s warmth,
and, as Diirer has it, ' the secret treasure of the heart is made manifest in the
work". And thus it is when the artist paints the land which gave him birth.
He discovers and points out beauties and grandeurs which no other eye has
discerned, and thus deepens and enriches the feelings of his countrymen towards
their common fatherland.

In Sweden we are now passing through a period of reaction, firstly from

2 — 7/:?0!?fi" Sn'Ctk'ii Ihri'iigli Ihr artist's ci/e. ^\

an era of false national pride with its cheap pathos and bombastic phrases,
secondly from the tendency towards national self-effacement and undue depre-
ciation of things Swedish which followed in the wake of the former movement,
and was, if that be possible, still more baneful in its effects. We have acquired
a wholesome dread of the big words and the grand gestures, but we are equally
averse to barren criticism and petty heckling, and we are longing for a genuine,
and ardent, yet at the same time discreet, patriotism.

Fructilied and inspired by the impulses received from foreign art, particularly
French, our art, which is now in its golden age, has centred round that which
is distinctively Swedish in nature and people, and has gone far to deepen our
knowledge of our own country and ourselves. If it be true that self-knowledge
is the principal thing, Swedish art must be said to have played an important
role in our national life.

Sweden, which occupies the east and largest part of the Scandinavian pe-
ninsula, is about 1,150 miles in length, a distance which would correspond
to that say from Malmo to Naples. It is obvious that a country with this
enormous extension from North to South must have a very varied climate. More
than a seventh part lies within the arctic circle, while the fertile and thickly
populated province of Skane has a mean temperature like that of Central Europe.

"Gamla Sverige", Old Sweden, we call her, and that rightly, for the Teu-
tonic race which peoples, though but too sparsely, this enormous region, almost
as big as France, has been settled in our forests since time immemorial; the
kingdom of the "Svear" is the oldest surviving state in Europe, and the actual
soil and rock are among the oldest formations in the world. Granite knobs,
polished by the glaciers of the ice period, and partially covered with moss and
forest, occupy nearly three-fourths of Sweden, and give a distinctive aspect to
the landscape. Some of our merits, such as the almost total absence of illi-
terates and an unusually low rate of mortality, we can not show the foreigner,
much though we delight in them ourselves. On the other hand, there is too little
marrying and multiplying amongst us, and emigration robs the country annually
of thousands of young healthy, active people, who have been fed and educated
while they were unproductive, only to have them go and employ their skill
and energy in foreign countries. There are a variety of causes, psychological
and economical, for this constant drain on our population. The most laudable
is the old Viking spirit of daring and adventure, the most unworthy is the want
of appreciation of our own national personality. The calm feeling of superiority
which we meet with in Englishmen, Norwegians, Frenchmen, Hungarians, and
Americans, is, unfortunately, still lacking in Sweden.

10

ENTERING THE HARHOrK

I'KrsTiNG iiv I'RINCK ElOEN

If we except the Norwegian frontier and the rivers which separate iis from
the Russian Empire, Sweden is bounded on all sides by the sea. Both our
navy and our mercantile fleet are manned by men of the verj' highest ciuaHty,
who are coveted in foreign navies for their presence of mind and their courage.
The Sea-wolves", wlio in the ninth century were the terror of the coasts of
France and England, have now been transformed into dauntless sea-bears, not
unlike the Vikings in outward appearance, apart from a little swelling on the
under lip, caused by chewing-tobacco (page 12).

It is Carl Wilhelmson and Albkht Engstro.m that have depicted these
types, walking the decks witli their rolling gait and a humourous twinkle in
the ej'e. Almost the entire coast of Sweden except Skane (Scania) and Halland is
protected by the skdrgdrd, with its islands, rocks, and skerries, dangerous in lime
of peace for our own boats, but in time of war, let us hope, still more dangerous
for the enemy s. The coast population sail about amid breakers and shallows,
in Bohuslan in A'o.s/cr-boats, broad and cock-sure like the skippers themselves, in
Blekinge in punts called Blekingsckor, along the coast of Xorrland in the kind of
boats called skotbdtar; in the neighbourhood of Stockholm the "Rospiggar", as the
inhabitants of Roslagen (the North part of Uppland facing the sea) are called, trade

11

along Ihe coast in llieir beauliful smacks, sailing with timber and sand among the
iirlhs and bays, as bold and skilful sailors as any of the sportsmen who in their
white or mahogany-brown cutters cruise among the reefs past the hundreds of
landing-places and bathing-boxes. In summer-time the landing-places are thronged
with girls in light summer dresses, and boys clamber agilely about the railing,
waiting for the steamer. It is a pretty sight to watch the boat sailing along in
her smart coating of white paint, and by a skilful manoeuvre brought to shore
at one landing-place after the other. A pretty sight too, as on an autumn

night she glides along the dark waters,
a little moving world ablaze with light,
illuminating with her seai-ch-lights the
mooring-places and the narrow passages
between the holmes. In winter-time the
empty and shuttered summer-villas, and
the bathing-basins drawn up on the beach
and now almost covered up with snow,
intensify the sense of solitude and desola-
tion, and give a certain tone of severe
melancholy to the landscape. And j'et it is
in just this mood that nature most appeals
to the skaters or skiers (page 22), as they
speed along over the ice, running through
in memory the events of the summer;
how they surprised shrieking girls at the bathing-place or listened to some beloved
soul reading poems by Froding or Karlfeldt aloud on the veranda; or, if they had
reached a little more advanced stage in life, how they enjoyed the sight of the
cliildren coming in from bilberrying with their mouths all blue and their clothes
torn by fences and their skin b}' gooseberry bushes; what a beseeching look
their faces wore, as they asked for permission to go out rowing, and how they
seemed to revel in the liberty of their summer-holiday existence. It is Axel
Sjoberg and Richard Lindstrom who have perhaps best depicted the skdrgdrd
in winter. In a country like Sweden where the winters are so long, people
want to make the most of the summer, and we realize instinctively what a
great thing it is for the little folks to be allowed to disport themselves at will
on the green grass, and climb and swim, as they please, forgetting the winter
cold, and enjoying a long spell of liberty from school discipline. Our long
summer holidays are a national boon, and, though attempts are being made
to cut them short, there are plenty of zealous champions to start up in their
defence. No Swede has done as much as Carl Larsson to show what a
glorious time the children have in the country "in lovely summer when

SEA-BEAR

Drawing by A. ENGSTROM

12

srxiiisi-:

I'lIIELS r..VI.I.KnV. STOCKHOLM

tlie ground rejoices", as one of our poels has so aptly expressed it. 'l"o
the (juestion, what is the most beautiful thing in the world'?'", someone has
answered: a flowery meadow", and we have plenty of that kind of beauty in
Sweden. Like in Lil,ii:i-ors" "A Family of Foxes", where the young foxes
are shewn disporting themselves amid the white chervils and yellow buttercups,
the children delight in plucking cowslips in the light-green June grass, and in
summer they love to hunt out places where the strawberries are hiding, and
they shout with joy when in the baking sun by the side of the ditch they
discover the purple berries in which the whole perfume and sweetness of the
summer seems to be concentrated. One of the greatest privileges we enjoj' in
Sweden is that there is plentj' of space, and that everything is not enclosed.
One may sit on the grass without being driven away, one may bathe by the
shore without getting fined, and that's a grand thing for the children, and for
grown-ups too, for the matter of that. One is allowed to lish anywhere one
likes, for sport; there are plenty of (ish for everybody, anyway. C.\ui. L.\usson
has painted fishing on a rainy day in his picture "When the Fish bite well";
he has also painted the kind of fishing which the children most enjoy, fishing
for crayfish, that great event in the height of summer, when they scramble
about bare-legged with their small landing-nets and pick up the blackish-grecn
crawling crayfish with loud shouts of delight (page 19). Their elders, on the other

13

hand, deem the supreme moment of the fishing to have arrived when the scarlet
crayfish are lying in state on a huge dish in the middle of the table, and their
funeral rites are inaugurated by drinking a glass of old Swedish brandy. A more
wholesome fluid, which is a source of great joy to us in summer, is water,
and I suppose there are few countries where people bathe so much in the
open as in Sweden. The loneliness of the country often permits of a freedom
from costume which inspires the artists. Two fine pictures in the Gothenburg
Museum, one by Acke, representing naked male bodies standing out against
the breezy dark-blue sea, and Zorn's picture "Out in the Open" (page 20), which
is so highly esteemed in Sweden, are no doubt the best specimens of this kind
of art. In the latter picture, one of Zorn's very best, we see a typically Swedish
scene, which everyone must be capable of appreciating: on a grey granite rock
polished by the action of the water, a couple of fair-haired girls are creeping
down towards the warm glittering water. The soft bodies set off against the
hard rock, the rowing-boat, the feeling of freedom and breeziness away out in
virgin nature; all this has been expressed by the artist in a way which makes
us thoroughly pleased with what is ours.

The skdrgdrd right away from the outermost skerries where Axel Sjoberg's
gulls dream under the starry heavens, and where Liljefors' eiders in the light
of the morning sun creep down into the water from the outermost rock (page 13),
where the fishermen's herring-nets are hung out to be dried and mended by
the rotted landing-places, all this has been masterfully delineated in Strindberg's
' The People of Hemso" and in Albert Engstrom's drawings. Other artists
have painted the bays and inlets nearer Stockholm, with their leafy banks. The
spirit of summer is wonderfully well expressed in Richard Bergh's great pic-
ture ' Summer Evening" (page 15) in the Gothenburg Museum. The scene is
the church bay in the island of Lidingo, on the upper veranda. A young couple
are looking out over the luxuriant verdure below them. Down by the water, we
see the landing-stage. It is a moment of happiness. One fancies one hears the
humming of bees in the summer heat, and that it is their monotonous chant
which makes one feel the fulness of the moment still more intenselj'.

The Stockholmers look upon the skargdrd with loving eyes; it is difficult
for them to imagine how it must affect the stranger who approaches the capital
from the East gazing from the deck of a large steamer over the rocks where the
seals crawl, gliding past the holmes where stunted firs blasted by the storm
are struggling for life, and travelling along broad bays, now dark-blue, now
bluish-grey, through narrow sounds, past leafy banks, not seldom disfigured
with villas of a more than doubtful architectural beauty, finally arrives at Stock-
holm. Can the foreigner, who sees this for the first time from the high deck
of the steamer, can he understand and appreciate all the delightful, beautiful,

14

SUMMER EVENING

Scene fhom I.idixoon

I'ArNTF.i) BY RICHARD HERGH

IN TIIR GOTIIIvNItrnti Ml'SRl'M

touching things, all the grandeur which we see who have been familiar with
the skargdrd from our childhood, who have lived in it, sailed on il and bathed
in it, and have had our eyes opened by Sehlstedl's popular songs and Cahi.
Larsson's illustrations to them, by Slrindberg's stories and novels, and by
Lii.JEKORs', Axel Sjohkrg's and Richauii Linostrom's paintings'?

The skargdrd in Bohuslan assumes more imposing forms and has a severer
beauty, at any rate in its seaward parts, for in the interior Bohuslan Qords
the vegetation is luxuriant. The travellers who come from England to Gote-
borg (Gothenburg) by boat, first catch sight of rocks as bare as the walls of a
fortress, but with more beautiful forms, emerging from the breakers. Kari,
Nordstrom, born in the island of Tjorn in Bohuslan, has in an austere and
manly style painted these granite rocks wilh the undulating lines, now with
the foam dashing at their feet, now with bonfires flaming on their crests. Nord-
STROMS art is of a piece with the nature mysticism of our remotest ancestors,

15

MY FAMILY

Mrs. Kawn Larsson and her children

AT SuyDHOKN

Painting by CAUL LAHSSON

IN THE POSSESSION OF MR. TIIORSTEX LATRIN.

STOCKHOLM

itiui wliL'ii we see liis |.i(Uiic "Kuster Hoiiliics in Tliiel's Gallery (page 23), where
llanies shoot out to j-ieel the coming lifjht, we think how for thousands of the
years Swedes have made merry around these fires, rejoicing that the icinn of
cold and darkness has once more heen shattered, it is Kahi. Xohdstkom and
Carl Wimiki.mson who have depicled liic ii:ilnre and people of the West coast,
the former the hills and the decorative cloud masses afiainsl winch they stand
out, or the se(|ueslered valleys, where the sun is hakinj; hot, and dense thickets
of hushes, sheltered from the hlast, fill the crevices. The latter is the painter
of the serious-lookin<^ peo])le
who inhahil these parts, and
in winter gain their livelihood
hy converting the glittering
shoals of herring into silver
coins.

In looking at Wilhelmson's
pictures, there comes upon us
something of the earnestness
which is natural to this coast
population, who have to risk
their lives in order to gain
their suhsistence. Wilhklmson
loves the high colours which
occur in the landscape when
the sun sliines on the pink-
tinged hills, and broad, light-
brown boats with white sails

standing out against tlie red lishernien's cottages. For these people who have
been brought up in the hard and narrow religious school of Scharlau, the church
is the object to which their thoughts turn with longing in the midst of their toil
and drudgery; particularly the women in their black silk kerchiefs with their
prayer-books wrapped up in their handkerchiefs look as sorrowful as if thej- were
going to a funeral, as they repair to the sanctuary on foot or in boats (page 25).

1
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"mm-twm

^^^^^^^^^^^1^^^ ' ** vMviiflHBHipH

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F.AH.M IN SK.AXI-:

Em.hamn.; iiY KHNST NOULINI)

Most foreigners come to Sweden from the south with the Danish or the
gigantic Swedish-German ferry steamers, and then they see that part of the
Swedish coast which is not surrounded by skerries. Skane and Halland are
the onh' provinces that lie directlj' on the sea, and even at some distance from
Malmo or Trelleborg one can discern from the sea the vast green plain with
its white churches and black wind-mills. Curiouslv enough, none of our great

li3 0"26 Siveileii thrniujh the artist's ci/c

17

living artists has depicted the Oresund, one of the most beautiful fair-ways in
the world, with its deep-blue waters, oftentimes filled with hundreds of white
gleaming sails, and its banks fringed with beech woods. The shallow Hal-
land firths and the great lines and high colours of this now deforested district
have found in Nils Kreuger an admirer and delineator of high rank.

Skane (Scania) differs both in natural scenery and culture from the rest of
Sweden, with which, like Halland and the winsome Blekinge, it has been united
only 250 years. The Skaningar (Scanians) are well-pleased with themselves and
their country. They possess the most stately castles, the most well-fed peasants,
the richest trades-unions, and the most violent socialists — all ganged by a
modest Swedish standard. This has not been denied, and talented Swedish
authors have admirably delineated this milieu, with the exception of the ca.stles,
surrounded by gigantic trees and with their images reflected in the ponds. In
some of these castles a life is led such as even an English country-gentleman
would consider fit for a human being, with huntsmen in red coats, and
munificent hospitality; and the gay lieutenants and elegant ladies are perhaps
not quite so hard-hearted here as in the more northerly parts of the realm.
In our country one has been a little unfair to the higher classes, and that in
spite of the fact that the heads of society have eagerly participated in the
national work, and spai-ed neither energy nor money when the public welfare
has been at stake. If we except a few excellent portraits of Georg v. Rosen,
Anders Zorn and Oscar Bjorck, modern Swedish art has not taken its sub-
jects from castles and parks. Otherwise the Skaneland", as the inhabitants
of this rich district affectionately style it, has in recent times found very good
interpreters. The old Gustaf Rydberg, and quite recently Ernst Norlind and
Axel Kulle, have shown us the white farmhouses (page 17), which are so solidly
built, that their verj^ outward appearance gives us an inkling of what their inmates
must be like. Sometimes one maj' catch sight on the roof of the long-legged
aristocratic figure of the stork, while the more plebeian characteristics of self-
complacency and embonpoint come out in the cocks and hens and geese in the
court-yard. The beauty of the Scanian plain landscape has often been described
in novels and lyric poetry; Ernst Ahlgren, K. G. Ossian-Nilson and Ola Hanson
are no doubt its foremost portrayers. However, Skane has still to wait for its
conclusive interpretation in modern art. Skane has not yet received in painting
all the homage it deserves. The solid ancient culture of the Scanian peasant has
formed the subject of Hugo Salmson's pictures; scenes from melancholy avenues
of pollard willows, from expanses of green fields with decorative groups of
trees, standing like sacred groves on the dsar (ridges) which bound the horizon,
these and many other things have been attempted by the talented Scanian paint-
ers; but they have never attained the greatness displayed by a Nils Kreuger

18

•'/ •\

?■'■

JY.

FISHIiVG FOH CUAY-FISH

Watkh-c.oi.oi 11 iiY CAIU. I.AHSSOX

IN -llli; NATIDNM. Ml'SBUM

or a Karl Nohdstrom in their pictures from Halland and Moluislan. Kven the
picluresciue seaside life on the sandy heach of Falslerbo or liie sleep rocky shores
of KuUen has not yet found a portrayer. The huge rock projecting many miles
out into tire sea is one of the most beautiful things in Ihe whole of Sweden.
A whole swarm of young artists have striven to render the huge weathered
blocks, and the luxuriant beech woods; or the sea, now roaring and dashing
its foam up against a fantastically formed rocky shore, or as it is seen from the
Kullen light-house — which has now for well-nigh 400 years lighted up the
mouth of Oresund — , lying calm and smooth as a mirror in the evening,
when the Hashes from the lighl-houses along the coast of Sja-lland intensify the
impression of the vast expanses one surveys. One realizes thai corn and sugar,
beer and hrdnnuin (brandy) are produced in plentiful (juantities on the Scanian
plains, when one sees the tall chimneys rising up alongside of each other right
away in the country in the very midst of the wellcultivated fields. The Scanians
believe that good food, and perhaps also good commonsense, is properly
speaking onh' to be found in Skane. That is perhaps going too far, but cer-
tainly the well-nourished, energetic and shrewd population of this district with

3 ■ — 11:^ ()2(» Siretten through the artist's eye. .* q

their broad burring dialect has a natural self-reliance, which would not be
amiss for the other inhabitants of the realm.

If the traveller coming from abroad makes as soon as he sets foot in Malmo
acquaintance with things Swedish, in the shape of a "sober-minded porter", to

OUT IN THE OPEN

Oil painting by ANDERS ZORN

IN THE GOTHENBURG 5IUSEUM

use Heidenstam's exquisite phrase, nevertheless it must be said that Skane with
its fertile fields, its yellow tile-factories, and the whitewashed farms makes an
un-Swedish impression. It is not until the train begins to whirl through the
pine woods of Smaland, and there appear at the stations small flaxen-haired,
shy-looking, blue-eyed girls, mute as fishes and with beseeching looks offering
for sale raspberries and bilberries in birch-bark baskets, it is not till then that
one feels one is home in Sweden. Richard Bergh has painted one of these
little gii'ls, a quiet, timid little girl, busy gathering flowers in the meadow.
There are in Sweden many little girls like that, who stand by the gates to open
them in the hope of receiving a copper, and would rather bite off their tongues
than answer the friendly question "What's your name, little girl?". Smaland is

20

:i liuf^f |)i()viiu(', ;is lii;; ;is llic whole ol Swil/.i'ihmcl. Its inhabitiuits are consi-
dered sly and slinj^y; and il s no wonder they are mean, for most of them cer-
tainly have to work for all lliiy are wortii to fjet somclhinK nourishing and
the food doesn't drop ready-cooked into their months: nay, hut they liave to
quarry stone, and burn woodiiind, iind slrufjKle hard, and yet they remain as
lean as the kine.

If one wants lo nndersland Snialand properly, one ouyhl to read Albert
Engstrom's recollections from childhood and study his drawings. Then one
realizes how the world goes in the little red cottages, how warm and cosy it
is in winter, when Ihey mnll a pint of brandy, and the air is thick with vapour
from the damp clothes; or how strengthened in spirit and lifted above the petty
worries of every-day life one feels at the re\i\al meeting willi its coll'ee, allcluja
rejoicings, and more or less brotherly and sisterly love. One of the greatest of
modern artists is IIi;iiMAN Nouhman. He has shown us what a glorious thing
the forest can be, and he has painted it so that one literally feels the scent of
the Ledum, the resin, and all the strong, fresh scents which till the air on a hot
summer's day, and are carried to one's nostrils by a cool breeze from the
marsh with its cotton-grass and mystic plant- and insect-world. There is a
kind of passionate warmth, both physical and psychical, in Xorrman's landscapes,
where both heaven and forest are ablaze with red. In gazing al these pictures
of Norrman, the heart is lilted with a kind of half-defiant bliss.

Along the coast of Kalmar Sound the lields are covered with rippling
corn. Far in the north lies the beautiful Tjust and its skargtird, which has
been painted by Gotttrid Kallstemus. Singularly enough, the vast, romantic
Kalmar Castle, once called the key to Sweden", has not yet found an artist
lo depict it. Even making allowance for the painting of "views" having gone
out of fashion, one cannot but find it strange that the next largest lake in the
country, the curious long and narrow Lake Viittern, which plays such a great
part in Heidenstam's poems, and whose shores in Smaland have an almost
southern character, has not been painted by our greatest artists. Oniberg and
the district about Jonkoping and Grenna, the little cosy town from which one
looks out over the easily rulTled surface of the gigantic blue lake, is one of the
sights of Sweden.

GusTAF Ankarcrona lias painted several of the Smftland manors, places
which have a homelike atmosphere about Ihem both summer and winter.
One is received with overwhelming hospitality, various kinds of sausages and
cakes, such as have been eaten in Swedish farms since time immemorial, are laid
before one; and the late major, the proprietor, as he comes out on the front

3 —113 020 Sivedcii through the artist's eye. ty-t

steps lo welcome his friend who has driven up in a sledge, gives him a sly
wink that he has been successful in making a good brew of punch according
lo the good old receipt (page 34).

Central Sweden is characterized by a number of lakes; amongst them is
Lake Vanern, which is a regular inland sea, being the third largest lake in
Europe. North of the Snialand plateau, there extend round and along the
shores of the two great lakes, the primitive settlements of the provinces of
Ostergotland and VastergoUand. Quaintly-shaped hills rise from the plains
of VJistergotland, Kinnekulle, Halleberg and Hunneberg, BilHngen, and Alle-

A MAN BINDING ON HIS SKIS

Dkawing by GUNNAR HALLSTROM

berg, which latter has been painted by Karl Nordstro.m. It was in this
district that Christianity first struck root. It was here, at the foot of mount
Kinnekulle, that Olof Skotkonung (O. the Lapking) was baptized in Husaby. It
was here, at Billingen, that the beautiful cloister church of Varnhem arose and
on the plain that ancient seat of learning, Skara, in the shadow of the Cathedral.

If one takes one of the canal boats from Trollhattan (where now as of yore
the troll is still a-roaring savagely from his abode in the Toppo Falls — though
he has now to yield up some of his power to the turbines), and sails past the
ancient Lecko Castle, where Magnus Gabriel de la Gardie, the great Swedish
Maecenas of the 17*'^ century, once held court, one sees, on the Vastergotland
shore of Lake Vanern, mount Kinnekulle looming blue in the distance. Through
the Vastergotland branch of the Gota Canal one comes out into Lake Vattern,
and directs one's course to the ancient 16"' -century castle of Vadstena, whose
massive masonry and historic walls have fallen to Oscar Bjorck's brush (page 33).

Ostergotland has not yet received its due share of attention from the artists.
Ostergotland is rich in historical associations and legends, which, for us Swedes

22

EASTEH BONFIRES

Oil painting iiy KARI, NORDSI HUM

IN 'I'lllRI.S GAf.I.I-:ilY. STOCKIKII.M

at least, throw a yet greater spell about the beautiful scenery round tiie shores
of the Gota Canal. Slowly and peacefully the boat glides along over the canal,
and every now and then the boughs of the trees brush against the deck. There
is something quiet and soothing about a canal trip through Oslergolland, past
Lake Boren with Ulfasa Castle and its reminiscences of the Folkungar, down
through the Berg locks to Lake Roxen, where lies Vadslena cloister church, which
was consecrated by Magnus Ladulas. North of the high banks of Braviken
extends the forest region of Kolmarden, where the young Ali-ukd \V.\iii.bhiui
painted the magnificent landscape in the romantic style of the Dusseldorf school.

In the district around Lake Malaren, the heart of Sweden, south, west, and
north of the "Logaren", as it was then called, lived the Svear, whom we lind
mentioned as far back as Tacitus. This tribe was in possession of the chief
place of sacrifice in the country, at Uppsala, and gradually subdued the other
tribes, united the kingdom, and gave it their name. The artist who has best
rendered the country round Malaren is GrNNAn H.vllstrom. Although he has
only painted the land and people as they are now, he has painted it in such a way

23

that we have a feehng as if we and ours had hved round the shores of Malaren for
thousands of years, gazing out over the islands and seeing the same ragged fringe
of pine wood stand out against the summer-night sky, seeing the birches turn-
ing yellow in the autumn, assuming a mantle of white in the winter, emerging
in black lustre in the early spring, in order once more to don their garb of
green. White, tall, with a noble bearing, and a dreamy soughing about their
crowns, they stand on the ancient barrows of Bjorko Isle, where in the midst
of the distant firth the ancient royal town of Birka received the Franconian
Ansgar, the apostle of the North, among its turbulent men and silver-bedizened
women. Everything that Hallstrom has drawn and painted has about it a
certain distinctively Swedish flavour; no mere superficial veneer, but penetrating
to the very root of Swedish life, right down to its primordial source in mother
nature, which woke our people to consciousness of itself. His pictures conjure
up before us visions of the Sormland ' hagar" (see below), where the girls
listened to the notes of the cuckoo in the spring nights, and of the wintry
plains of Uppland, where the people rejoiced at the blood-stains of the victims
on the white snow, and in wild frenzy offered up sacrifices to propitiate the
god of the harvest.

When one has taken the night train from the south and wakes up one

summer morning, to find oneself at some
Sormland station, a delicious breath is wafted
towards one from the forest and the gra-
nite soil. One feels that one is in Sweden.
The silence is complete, except for
the brawny, fair-complexioned workmen
quietly toiling away with spades and crow-
bars on the railway track. Bj' the lake
(there always is one), stands a little while
church. If one follows the high road, one
comes upon another lake with a venerable
manor-house nestling in its orchard. The
soil of the meadows and ploughed fields
is no doubt stony, but the clover thrives,
and the fields stand so thick with rye, that
the thought is borne upon one that there are very few countries where one gets
so much out of the soil as in Sweden, thanks to the intensity with which agri-
culture has of recent years been carried on. More than a third part of all the
cultivated land in Sweden has been brought under cultivation during the last 30
to 40 years; but fortunately — and this is the special charm of the scenery of
central Sweden — there is a great deal of land, which is incapable of cultlva-

OLI) PEASANT WOMEN Disawing by

ALBERT ENGSTROM

24

CHl'KCH-C.OKKS 1,\ liuATS
Picture khom Hohlslan

Oil PAIMIM, in tJAlil. W ILllhL.MSON

IN THE AHTISt's IIOMK

tion, pastures and ''hagar", where the cows peep out from among the alder
bushes by the brook, and shy horses browse at Hberty, liindered only by the
fences and gates which shut them out i'roni the enticements of the clover
meadows. In the seventies Edvakd Bebgh painted, nay, I may say, dis-
covered, the beauty of the hage. In the eigthies Strindberg described Ihc
hage, that cross between a meadow and a wood, as something distinctively
Swedish. The soil of the hage consists now of granite knobs, now of
short cropped greensward; or else it is ornamented with white lilies-of-the
valley or pink bitter-vetches in the shady spots or in the sunny places with

25

great patches of colour made by the blue and yellow Wood Melampyrum,
standing in serried ranks like soldiers. In the autumn, when the mists come

sweeping in through
the birches of the hage,
fiery-red flybane gleam
in the wet grass.

Reinhold Nor-
STEDT has painted this
Sormland scenery with
the most delicate touch
and fine intuition: the
sparkling brooks run-
ning over the roots
shaded by the dark-
green smooth foliage of
the alders, the proud
Eriksberg Castle peep-
ing forth amid umbra-
geous groups of trees,
the hagar studded with
birches now wild, now
more parklike, as in
the great picture in the
Dramatic Theatre at
Stockholm.

A gentle melancholy
tone of peace and hap-
piness, a touch of pen-
sive dreaminess, which
is one side of our na-
tional character, per-
vades Norstedt's pic-
tures, which, though
often small, are always crammed with feeling. The Swedish landscape is ge-
nerally lacking in plasticity. The lakes and rivers afford vast perspectives,
but, if we except Norrland, there are no great altitudes to speak of. "Smiling",
"pleasing", inviting" are the words which first rise to one's lips, especially
as to the landscape round the Lake Malaren. One of those who has entered
most deeply into the very soul of that kind of Swedish landscape, is Prince
EuGEN. There is a touch of lyric feeling in the Swedish temperament, a desire

BIRCHES, "HAGE",
IN SORMLAND

Painting bv REINHOLD NORSTEDT

IN THE POSSESSION OF DR. H. WALDENSTROM.

STOCKHOLM

26

to see liolli Ihc oiilcr ;m(l inner Ixinf? of lliin{4s hroiiglil down to one lone;
il is in till' lij;hl of this tniil Ihal Ihc (Icsirc for llie cups IIkiI incltiinle, wiiicli
liMs from of old liecn :i p:\\[ of the niilioiKil cliaracler, is no (loul)l to l)e ex-
plained. This Swedish Irait has found ils fullest expression in llie personality
of the poet Ikilnian, in whose poems wild revelry is mingled with dreamy
pensiveness, and hoislerous mirth with deep melancholy. This desire to see
the lan(lsca|)e "in tone", no doubt also explains the many Swedish pictures with
the nighl as Iheir subject, particularly the summer nif»ht when the dim gloam-
ing covers over all im|)erfeclions and tones down all glaring colours. The
various features of the landscape blend together and melt into a full-loned har-
mony, .lust as the fragrant orchis in our woods emits a richer |)erfnine in
the night, so does many a shy and sensitive heart in Sweden give forth its best
and deepest feelings, when the landscape ajipears in that weird light when
things seem strange, yet at the same time familiar, and reality and dreandainl
blend into one another, l^rince EuGiiN has in his picture "Summer Night" in
the National Museum, and also in a number of other pictures, best jierhaps in
"Night (-loud" lin Thiel's (iallery), expressed in an unusu dly forcible manner what
we other Swedes feel — perhaps not so intensely as the artist himself — of the
happiness and the momentousness of existence when a huge greyish-white cloud
comes slowly trailing along over the landscajie which lies stee|)cd in the pale
light of the summer night. The district round Stockholm, es|)ecially the parts
about the ancient Tyreso Castle in Sodertorn, have been rendered by Prince
EluoEN, sometimes passionately, sometimes dreamily, so that he has enriched
us with new hitherto unappreciated beauties. Most imposing is his huge |)ic-
ture ' PZven Landscape from Tyreso", In Norra Latin Grammar School, Stockholm.

The scenery of Uppland, which is characterized by small knobs of protruding
rocks, interrupted here and there by loamy plains, has, if we except the coast
towards the sea and f-ake Miilaren, perhaps not so much to entice the painter,
though indeed the new landscape school of painting has shown that the greatest
beauty can be culled out of the most insignificant subjects. The Swedish artist
who has done more than any other to leach us how to see Sweden was born
in the Uppland plain. Bruno Liljefors has shown us that it is simply a (pies-
tion of "drawing out ' the beauty which is to be found everywhere. However.
it is the forest and the sea that he most loves, and he paints them, we might
almost say, from the animal's point of view. It has been said that he paints a
duck family as a duck would paint, if it could. Mother duck casts a wary look
at her small flulTy balls, stumbling along among the tussocks or cruising among

the bending rushes and quacking among the water-rings in the enchanting sum-
mer night. The forests of Uppland and Sodermanland, or the Smaland coast,
and the animal world of both these districts, are Liljefors' favourite subjects.
It is to the forest amid the "solemn dirges of the pines'", that manj' a Swedish
heart yearns; it is there they renew the memories of their own childhood, and
hear the echo of the childhood of our race resounding through the ages; the forest
is at once free and enclosed, silent and full of many sounds. The enchantment
of the forest has seldom been described more impressively than in Liljefors'
"Huntsman on the Alert" (next page). This peasant sportsman, with the alert,
nay almost devotional, expression on his face, is a symbol of what the forest
means to us Swedes.

In Sweden we have still a primeval forest. The forest is not tame like a
domestic animal, nor trimmed and raked like a decentlj' kept park. There is
something of fairyland about it, and it is full of mysteries and awful things.
The inner mysteries do not reveal themselves to anyone: here, as in all things,
the one who can understand and love sees and hears more than others. The
tiny, crimson, almond-scented linnea, which was given that name by the Swedish
King in the Realm of Flowers, Carl von Linne (Linnfeus), and which grows in
the moss under the firs, is found only by the keen-eyed; and it is still more diffi-
cult to see something of the animal world, to be a witness to the dramas enacted
among the elks (page 42), or see the loves of the big forest birds when with
curious cries and strange antics they experience the great frenzy which is the
acme of life, or when the animals of prey, panting wdth passion and hunger, slay
their victims. When we ordinarj^ folks go through the forest, we do not see
anything. Some of us can doubtless tell whether a pine is worth a crown a
root, and give directions for cutting the trees to the right lengths with the least
possible loss of cubic space, and this is certainly a most important matter in our
plankproducing country. But how many can in the course of a few hours' ramble
through the forest come upon the tracks of an elk, catch sight of a black cock,
find a fox's den, or who is lucky enough to witness the wooing of a pair of
capercailzies? But all this has been seen and painted many times over by Lilje-
fors: The Horned Owl (Gothenburg Museum), with glowing eyes, hissing and
puffing, perched on its rock in the forest; the wily Foxes (Thiel's gallerj') hiding
in the clefts of the rocks, while the pale crescent of the moon shines in the sky,
the fat grey-hen which sits torpid and complacent on its perch in the fir, and un-
willingly leaves its place in order with clumsy flight and a crash which scares all
the little birds, to alight on the ground and be wooed by the black cock; the
elegant wading birds, which with the subdued grey-brown hue of their feathers
look so well against the silvery and brown tones of the marshy ground ; all this
has been revealed to us by Liljefors from the artistic aspect, and a few visits to

28

HUNTSMAN ON THE ALERT

On. PAiNTiNii BY BKUNO LIUEKOHS

IN THE POSSESSION OF VII.T VON STEIJEKN ESQ. KAGGEllOI.M

Thiel's Gallery, where the largest and best collection of Liljefors' pictures is to be
seen, together with the study of the valuable pictures of the same artist in Gothen-
burg Museum and in the National Museum at Stockholm, will be full of instruction
for those who desire to know something of what is deepest in Swedish nature.

MARCH EVE

Painting by EDVARD ROSENBERG

IN THE NATIONAL :\IUSEUM

From south Uppland and Oraker herrgdrd (manor) Georg Pauli has taken
the subject for his fresco painting ' Decorating the May-pole". In midsummer,
when the sun is at the zenith, when the lilac blooms, the maj'-pole is decked
with leaves, and then even the most surly 'blossom out". At midsummer time,
just as at Christmas, people grow a little kinder to each other. Friendly feeling
often rises one or two degrees, and not seldom reaches the boiling point, as is
shown by the announcements of engagements, which are unusually frequent at
this time. In honour of the lightest night in the whole year, it is the custom all
over Sweden for the young people, when they have danced to exhaustion round
the May-pole, to await the coming dawn on some beautiful point of outlook. Georg
Pauli has in a very romantic picture "Midsummer Watch" (in the possession of
Esq. Erik Frisell Stockholm) immortalized a midsummer w^atch on a hill near
Skurusund, not far from Stockholm. The sharp contrast between the harshness of
winter and the mildness of summer, causes us to cUng more passionately, perhaps,

30

than more soiilhern races, to nature,
when she reveals herself to us in her
lull f^lory; and do not our llowers smell
sweeter, our {^rass fjrow thicker, are not
our forests more luxuriant, and are not
our hcrries, surely, richer in llavour
than further south? On the oIIut hand,
the heauty ol' llie Swedish landscape, as
has heen said hefore, is not of a kind
which ohtrudes ilsell'on one; but, when
one has once heen captivated hy the
union of modesty and pride in the
Swedish nature, one learns to love it
so much the more fervently; even if
in order to express our feelings we
must have recourse to the untransla-
table word ".s7«;;i;?/;ir/", that which we
seek first and foremost in our nature,
our lyric poetry, and our paintings;
the nearest ecjuivalent is "mood"; but
it has often to be rendered by "feeling",
tone", "sentiment", "atmosphere". In
music the best interpreter of true Swed-
ish feeling is no doubt August Soderman in his "Peasant \A'edding . which has
about it the atmosphere of a sunny midsummer morning in birch-studded luujar
and amid glittering lakes. A great work of art, with a ring of steel about it,
which is also characteristically Swedish, is EnvARO Rgsknhkrc's 'March Kve "
(page 30). The scene is a valley in the district round Stockholm. A llame-
coloured light still lingers on the rocky knobs and the hare tops of the birches.
Wind and sun have formed the snowdrifts into ramparts now congealed hy
the night frost, where the dark-blue shadows are thickening. In spite of the
cold and the harshness there is something which bodes of s])ring. He who
sees this landscape in the right way, experiences a feeling of complex character,
just as in a full-toned chord joy and pain may be united, lilling our whole soul
to overflowing.

i.rc.i.A

I'.MMiNc; iiv (iUXNAli HAI.I..sriU)M

"O Viirmeland, thou beautiful, thou glorious land, crown of the lands of the
Swedish realm", so run the words of the song, and even if most of the other
provinces of Sweden feel themselves to be the most beautiful gem in the crow n

31

of Sweden, yet none of them have been able to express their love for their home
Hke the people of Varmland. Their song, vibrating with intense passion, has
rushed forth Hke a mighty river over the land of Sweden. "There is a belt of
iron round Svea's waist", and from the mines of Varmland much iron has been
fetched up, but still nobler metals have been gathered from the hearts of Varm-
landers. "in the greater part of Sweden it is iron that has paved the way for
culture", writes Erik Gustaf Geijer of his native land, and from his manly heart
there resounds a genuine Swedish note, which reminds us of Tegner's words on
our language, "Pure as the ore is thy ring", Geijer has also been a pioneer of
culture. There is a breezy atmosphere about his spirit.

When the Varmlander Tegner one summer night in 1811 was driving a load
of ore from Ramen works to Filipstad, his mind gave birth during his wander-
ings in the depths of the forest to the poem "Svea", in whose ringing rhymes
and flaming images all his present unrest and good resolutions for the future
were given a form which called forth the enthusiastic applause of the whole
country.

In the works, manors, parsonages, and farms of Varmland, song and legend
flourish more than in other parts of Sweden. Festival customs, survivals from
primitive rites, which have attached us with such strong bands to our native
soil and to those who have lived there before us, have been retained more faith-
fully in Varmland than in other places.

Christmas is the greatest Swedish festival, when one wishes that all eyes may
shine and all hearts burn to vanquish the darkness and the cold. This is the
time when families gather together, when one feels the comfort of having someone
to love and rejoice with, and of showing them what one feels for them, it is a
time when one's thoughts turn to the dead, and j'et are full of hope for the fu-
ture, most of all when we see children rejoicing over the Christmas tree, the
lights and the presents; and then to the tune of some old Christmas reel, whose
melancholy passion arouses slumbering memories, one dances round the tree of
life with its lights and apples, and the star at the top. It is still the custom

TUG OF WAR

I^AiNTiNG BY GLINNAR HALLSTROM

IN MARIA BOARD-SCHOOL. STOCKHOLM

32

VADSTENA CASTI.K

I>AiNTiN<; HY OSCAK B.IUIU;K

IN ItF.AI.I..\It(IVi:ilKKT. STUCKIIOI.U

in the old forest settlemeiils to go to matins on Clirislmas morning by lorfhlighl.
Some rejoice most at the old hj'mn "Hail, lovely morning honr", while others
look forward most eagerly to the "brandy" and cold ham, which will after-
wards be served. Those who celebrate Christmas in the true spirit are pleased
with everything. A beautifnl Viirmland custom is the Lucia celebration. To
inaugurate Christmas, the festival of light, il is the custom on the 13"' De-
cember, before it is yet daj', for Ihc lady of the house or one ol liie girls, garbed
in white and with lighted candles stuck in a green chajilet of lir twigs in the
hair, to treat all the members of the household to collee in bed. Ginnau Hali.-
STROM has drawn this beautiful symbolical custom (page 31), in which one feels
a warm breath wafted towards one and a ray of light proceeding from both heathen
and Christian ritual. Much the same feelings are aroused in us by the imaginary
world of the great ^'armland authoress, Selma Lagerlof. This prophetess, who
sees visions of Yarmland, who conjures up all good powers, has taught not
only Sweden but the whole world, how things are in (iosla Berling s native land.
Our greatest lyric poet since Bellman, Gustav Froding, is also a Yarmland
man. He writes about his foiests and hagar, so that we literally feel the scent
of fir twigs, of lilies-of-the-valley and of birch leaves, and all we Swedes feel,
when we read Froding, how strongly we are attached to our rocky knobs and
dwarf pines. We recollect, when as children we called out "home" at the prim-
rose spots in the hm/ar and sought for raspberries in the pile of stones. "Yon copse

ii:i 0'2fi Swciicn IhrutKjh the artist's eye.

33

is to me dear, my childhood whispers there", runs one of Frodings verses, and
all Swedes will echo the feeling. Eroding has also delineated the people, the
poor who beg and suffer, but also their levity, their dances and addiction to
the brandy bottle, and wild romps with "Stina Stursk" and other red-cheeked

THE SLEIGH-BELLS TINGLE ON THE UP-DRIVE

Painting by GUSTAF ANKAKCKONA

IN THE POSSESSION OF E. bCnSOW ESQ. STOCKHOLM

tittering girls in shawls, who forget everything for the present and do not con-
sider enough what the future may bear in its bosom.

Carl Wilhelmson has painted Varmland peasants in his picture Labourers"
(page 37) in Thiel's gallery, and he makes us feel supremely satisfied at belonging
to such a trustworthy-looking people. All the figures in the picture, down to the
little boy, have a reliable, steady, downright look about them. This boy will
perhaps be rather slow and cautious, if he is asked a question, but one can rely
on him. You may safely send him to water the horses, and if he receives per-
mission to go to town to buy something, he will not spend his money on the
way. In this part of the world manhness develops late. The little fellow will
no doubt be an awkward enough cub yet a good while, but he will be a fine
fellow when he has grown to manhood.

34

F.iAKSTAi) lijis p;iinlP(l llie moss on the Irce-trunks and rocks, the water
dripping and fro/en, bnl his favourite subject is the snow accumulatinR under
tlie stems of the fir-trees in high-piled taiilastic heaps (see the cover). And Hjohn
Ai.GHKNSSON shows US iu ills picture "Interior" in Thiel's Gallery, what one feels
like in an out-of-the-way cottage in the forest, as one watches through the window
the l)ig heavy llaUcs slowly falling, till at last one has to use a snow-shovel to get
out through the door. It is then one feels what home really means. On Lake
Fryken, which is long and narrow like a river, lies Hottneros, the Kkehy of
Gosta Herling's Tale. This region has been depicted by Gkoiu; Paii.i in his
drawings. Down by the enormous expanse of Lake Vanern, that great inland
sea, whose chief alTluent is the river Klariilfven, which runs llnougli tlic whole
of VJirmland, lies SiilTle. It is here that Otto Hksski.ho.m, who became famous
in Italy before he was appreciated in Sweden, has his residence. In modern
times we have been a little afraid of the painting of "views", but IIksski.uom
has shown us what decorative grandeur there may lie in the very structure of
the landscape, seen from a high point. In his painting "Our Country" (page 9),
we see wooded ridges, shading the long and narrow lakes, and in the far distance
a glimpse of Lake \'anern. Varmland, with its hilly contours, its nature of river

A VIKING EXPEDITION'. Thi-: aktist s chii.dhin

W.tTKii-c.oi.m H HV CAUL I.AHSSON

ll:i O'Jti Sweden thvntuih Ihc artist's eye.

35

valley to the Klaialfven, and ils lonely, inlerniinable forests, forms a transition
not merely to Dalarne (Dalecarlia), on which it borders on the north-east, but
also to the genuine Norrland scenery. ^'Bergslagen' is the name given to the
districts in Varmland, Vastmanland, Narke, Uppland, and Dalarne, where mining

INTERIOR OF A COTTAGE AT RATTVIlv

WATER-coLOun BY CARL LARSSON

IN THE POSSnSSION OF VULT VOX STFI.IFnX ESg-

KAG(iEIIOLM

is carried on. There ore is mined and smelted in blast-furnaces or smelting-
works, and charcoal is burnt in the lonely charring-stacks in the forest.

Up along the river Dalalfven and its glens till its two sources, penetrated
thousands of years ago the forefathers of the Dalkarlar (Dalecarlians), who now
live in Dalarne. The men who grew up amid the straight white-trunked Dale-
carlian birches lived in village communities, but were almost isolated from the
rest of Sweden. Dalarne came to be the source from which the country drew
her strength, and was for hundreds of years the heart of Sweden, sending warm
red Swedish blood pulsating through the sickening body of the state; and the

36

LABOURERS

Paiminx, iiY CARL WILHELMSON

IN -rillKl/s iiAI.LEUV. STOtlKHOLM

part wliich the Dalkarlar played in Engelbrekt's war of independence about 1430,
and in that of Gustaf Vasa about 1520, told of unimpaired power and strength.
The judgment which the old king Gosta (Gustaf) passed on the Swedes, that

37

they are a stubborn race, inclined for great achievements, holds good first and
foremost of the Dalecarlians. "Sakert" (l am sure) is an expression which they
are very fond of, and the Dalecarlian dialect has a particularly manly and pure
ring. In certain districts they have retained a language which is unintelligible
to other Swedes. In the villages on the banks of Lake Siljan, in the parishes
of Mora, Rattvik, and Leksand, they still retain, more than in any other place
in our country, the beautiful old costumes. And even if new levelling move-
ments have tended to do away with the beautiful lace and the artistic weavings,
so that even the women are dressed in the way they call ' slimskladd" i. e.
half town, half country, even if the seething social discontent in the south part
of Dalarne makes itself felt with unusual emphasis — , yet there are in these
parishes round Lake Siljan both men and women, hardy, healthy and strong like old
birchwood (page 36). From ancient times there have been no gentlefolk in Dalarne
other than the parsons and judges. Now-a-days we find there the two classes
which are socially and ethically furthest apart: peasant-farmers and proletarians.
The strongly pronounced character of the people, their brightly-coloured costumes,
and the hilly country (hilly at least from the point of view of south and cen-
tral Sweden) round the beautiful lake has always attracted the artists to Dalarne.
At Sundborn in the Falun district Carl Larsson has built up for himself a
home with a personal and genuinely Swedish chai'acter, such as one might
expect from a man who is himself the embodiment of much that is essentially
Swedish. His series of water-colours, ' The Larssons", "Spadarfvet" (our own soil)
and ' At solsidan" (on the sunny side) give us, in picture and text, in word and
truth, the finest essence of Swedish family life. His pictures are warm in feeling,
and crammed with beauty, full of fun, yet at the bottom serious. No one, perhaps,
has painted the Swedish children like Carl Larsson. In Sweden we do not like
oldfashioned, afl'ected, molly-coddled children: we want our children to be out
in the open air as much as possible; in our elementary schools, which, unlike
those of other countries, are cheap and impart a good deal of free instruction,
the children of the different classes mix with each other; and in the country
one likes them to play with the farmer's children and the crofter's children.
The shyness of the fittle peasant children has already been remarked on. The
town children, and the children of the higher classes, are as rule frank and
lively and look respectfully and confidingly on the stranger. Carl Larsson
has painted and drawn the children, those precious treasures in whose hands
the future of our country will one day lie, in a great variety of different ways :
struggling with their lessons, bathing, fishing, rowing, and trudging through the
snow, sturdy little things in grey clothes and red pointed caps, or sweet fair-
haired girls, mothering with true womanly instinct their dirty little baby bro-
thers and sisters (page 35). There is a rich variety in the different costumes of

38

the parislies in l);i-
lanie. Al the place
where the river Osler-
dalalfven on the soulli
shore of the Siljan
Hows out ol' the lake,
and cuts its way
through the sand, is
situated the village of
Leksand. On a point
one sees a whitewashed
church, round whose
walls the incisar (Dale-
carlian men) in long
black coats, the mar-
ried women in white
and the Iciillor (un-
married girls) in red
or flowery caps, have
been gathering for
hundreds of j'ears.
The Leksand costume
tends to give the girls
a somewhat podgy fi-
gure.

It is an extraordi-
narily beautiful sight when tlie long church boats come rowing over Lake Siljan,
and the country-people assemble on the church hill under the huge hirclu's,
enjoying the rest and sociability of the Sunday. An artist who thoroughh' knows
the Dalecarlian usages and the Dalecarlian costumes is Emeiuk Sri:NHKiui, who
lives in a little village in the parish of Leksand. His "Wake in Leksand" Un
the Museum at Gothenburg), represents those hale and hearty old men and fine
old women assembled round an open coffin. The types have been admirably
hit off, and the mourning colours, black and yellow, are very elTective in the
candle-light. Stknbehg's "Bjors-Mia" which represents a Lvksamlskiilla (pea-
sant-girl from Leksand) sitting with her feet firmly planted on the ground,
with an air of broad assurance, ready for one of those humorous, sarcastic
answers which are so characteristic of the peasantry of Dalarne, is one of the
most instructive Dalecarlian pictures in existence. It interprets admirably both
the outward and inner life of this type of peasant-girl. Her attitude of care-

I5.I0RS-MIA.

Paintim; in KMEIUCK .STICNHKIU;

IN Till-: I'OS.SI-SSION OF MUS. ANNA I.KVIN. STOCKHOLM

39

MID-SUMMER DANCE

Oil painting by ANDERS ZORN

IN THE NATIONAL MUSEUJI

less ease is particularly elleclive. — Kallvik, wliirli is also situated on Lake
Siljaii, lias not been depicted by any really eminent artists, tlioush Zorii
has sometimes taken Hallvikslaillor (peasant-girls from H.) as models for his
etchings. Their tall conical lials and the motley cross-striped patch on the front
of their skirts are well-known all over Sweden, and one often sees these smart
powerful-looking girls working in the gardens in the country-houses outside
Stockholm. In no part of Sweden do we find such a highly-developed jjeasant
culture as in Dalarne, and it is a fortunate coincidence that our perhaps greatest
artist, Andichs Zohn, was born in Mora, and, after travelling all over the world
and achieving universal fame, has gone back to settle there. That elemental
force which has always been found and still exists in Dalarne, whose roots
extend right into heathen times, which shines forth in the blood-red colours
of the peasants' dresses, and lesounds "in marrowy heathen music " in the tunes
on cow-herd's horns echoing among the hill-sides and through the forests, is
also found in Andicus Zorn. Like his friend the poet Karlfeldt, who is also
a DalLarl, he has with every fibre of his being sucked in all the beautiful
visions which Dalarne has to otTer; he has gazed over the glittering hav of
Gesundaberg; he has drunk af the cool "bottle-brown water of the Dairdfven; lie
has drunk in the juices of the berry-laden soil, he has chewed at the resin of
the firs, and inhaled the smell of the mountain dairy, a mixture of cow-house
odours and the fresh scent of the forest, with a tang of sour milk from the
milk-room. It is in the same surroundings and on the same fare of hard bread
and pease pancake with a sweet or two on Sundays that "Kings-Karin" (page 4."!) has
been reared, the healthy-looking peasant girl in the red shawl, with her unruly
ej^es, her slightly protruding cheek-bones, the fresh, almost too red, complexion,
with a healthy, unconscious sensuality, who embodies some of the most precious
characteristics of our race. She is a symbol of uncorrupted [leasant life, a spring
of power which it is to be hoped will never be troubled nor ever lose its force.
No painter has ever been able to render the peasant nature in all its fulness
and strength, like Zorn. His buxom naked peasant-girls are products of a
natural mode of life, but there is no attempt to convey a lesson on the evils
of town-life, or to advocate a more hygienic manner of existence. He presents
them to us in the bath, their ])owerful bodies glistening with the warm water,
or at the loft-door, or as they wade out into the brook, fair-haired and full of
health and youth, the sweetest and juiciest berries which the Swedish soil has
brought forth. Zorn paints the crafty face of the peasant watch-maker, working
away at his Mora-clock, a kind of grandfather's clock, deeply absorbed in his
mechanical improvements, with that inventive genius which is -natural to us
Swedes, and has given birth to such famous inventors as John Erics.son,
the constructor of the Monitor and inventor of the screw-propeller, de Laval.

41

ELKS

Dhawing by HRUNO LILJEFORS

42

Ihi' iiivciiloi- of the de l.:iv:il Sc|)iiral<)r, and L. M. Kricsson, Ihc greal lele-
plione-eonslruclor.

Oiu-e in a while Zorii di-piils tlie ( haraclcr of our |)co|)lc' from the seamy
side. In "A F'air al Mora ", we
see a Dalecaiiian peasant lying
on the grass dead-drunk. I5y
his side sits in gloomy apathy
a flaxen-haired woman, waiting
for him to recover. — Whether
the fellow will be a nicer custo-
mer then, is another matter.

If mid-summer with its warm
evenings and its smell of drieil
hay is the grand festival of the
year in Dalarne, yet when the
snow crackles under the run-
ners of the sleighs, and its pas-
sengers are muil'led up in sheep-
skins and red rugs, whose bright
colour stands out against the
white snow, and the jingle of
the hells resounds over the dazz-
ling white landscape, one rea-
lizes pretty strongly that one is
living, as a Dalarne peasant once
expressed it, in a 'nice North".
Anselm Sciiui/rziiERG in his win-
ter pictures from the southern
part of Dalarne has set forth the
wintry beauty of this country,
which has also been rendered
by Arborelius. In Schultz-
berg's great picture "Walpurgis-
night Bonfires in Bergslagen",
one sees liow the bonfires are blazing on the hills, while the snow-drifts
which are still to be seen on their slopes tell that the reign of winter is not
yet completely shattered. Those who know their history will recollect, when
they see these fires, that it was just in Dalarne that the trials of witches in
the 17"' and 18"' century were most prevalent. The old hags were burnt at
the stake, and the victims, who were themselves blinded by the dark super-

KIN'dS KAIUN Oil, PAINTING BY ANDEHS /.OKN

IN THE POSSKSSIOX OF l>n. IlJAI,M\n LrNimOIIM. KIIUNA

43

MINERS ON THE ORE MOUNTAIN AT KHU NA

Painting isy CAIil, Wll^HELMSON

IN THE POSSESSION OF DR. IIJALMAK LUNUBOHM. KinUNA

stition around them, confessed to having had intercourse with the Prince of
Darkness himself. From Karingberget (the Hag Hill) in Leksand, these un-
fortunate victims to the cause of light and truth lighted up the region round
them. Just as the church bells, which once in times of dark superstition rang
to scare away the powers of evil, now with their deep memory-laden voice
admonish us to 'lift our hearts', an admonition which all need and all are
willing to bow to; so now do those symbolic fires shine forth, themselves puri-
fied from wailing and corruption, full of memories from olden times and pro-

44

I, AIM'

DiuwiNi; iiY Ai.mcur KNcsrnuM

mises lor the riilme, iisheriiif^ in the suiiimer, whose ureal festival is perhaps
never celel)rale(l witli ^jrcalii splendour Ihan roiiml llic inaypoies hy Ihe
side of Ihe rluirclu's in Daliiinc.

Mora lies on Ihe north side of Lake
Siljan, where the Osterdalalfven falls into
the lake, on a rather low promontory se-
parating it from the Lake of Orsa which has
heen ch'awn and painted hy Aron (ii;iti.i;,

Ai)()ve file i^real expanse of Lake Siljan
rises in the west tlie (iesunda Hill. It was
from the church mound at Mora that (iuslaf
Vasa in 1521 spoke the words of earnest
admonition whidi look root in the hearts

of the men of Mora. It was here that the spirited resolution was formed which
laid the foundations of a free and independent Sweden. This, the most im-
portant moment in the life of Sweden, lias heen immortalized l)y Zokn in his
masterly picture of Gustaf Vasa, standing on a hill in Mora, where the young
I'pplaiid nohleman laid his whole soul into his words to the men of Dalarne.
After some decades he and his descendants were to cover th.e emhlem of Ihe
'Sheaf [Vase] with greatness and glory, as the poel sings:

"The sheaf of pallid grains no longer

Whicli once in l^'pplnnd stood on ploughed ground;

It rankcth now with lleur-de lys and eagle.

The wide world over honoured and renowned."

On Midsummer Kve 1523 King Gustaf marched in triumph iido the fe-
stively decked capital. The work of liberation was accom|)lished. I'rom thai
time w'e can celebrate midsummer with great joy, and when we sec the leafy
boughs in the halls, on the stems of boats and dancing-floors, and smell the
scent of the birch leaves, we are filled with a feeling of mingled joy over the
great festival of the summer and over our land ami jieople. The Swede is
much addicted to melancholy brooding, but also to the opposite extreme, row-
diness and fights with knives and brandy bottles. It is fortunate for us, when
these contrasts work themselves out in singing and dancing. The fanaticism
of the pietistic schools has frequently been succeeded by a social hate, fanned
into fiercer flame by the envy which is inherent in Ihe Swedish character.
But there are also friendly powers at work in our people's disposition, a sense
of justice and fairness, respect for man as a man no mailer what his position
and circumstances, and a healthy sensuality and joy of life, which loves nature
and what is natural. The joy of being together, of eating, drinking, dancing

o — 113 0^2(! Sivedcii throiuili the artist's cyf. *-

and singing in the open air, this is the real spirit in which to celebrate mid-
summer. ZoRN has painted the midsummer dance on the green, the men at
first rather more solemn than they are further south, but later on when the
girls begin to shout with delight and the men's hearts are set beating, there is
rapture over the present and all that one promises to each other on the warm
summer eve of the lightest night in the year (page 40).

Norrland does not make a figure in Swedish history till late; it is only in
recent times that its forests and mines have been exploited, and it is only very
lately indeed that it has been discovered from the literary and historical point
of view. The poetry of Adalen has been described by Pelle Molin, Olof Hog-
berg has portrayed life in Norrland in the 17"^ century, and Ludvig Nordstrom
has in his broad humorous way depicted the life that goes on in the Norrland
coast towns, and the simplicity of the petty tradesman coming into conflict with
the blustering superiority of the upstart. Norrland is larger than the whole of
the rest of Sweden put together, but it has a population of only 950,000 souls.
On its northern frontier it is hilly and mountainous, while the rest of the
country, which slopes down to the sea, consists of river valleys and intermi-
nable forests and marshes. Only a little more than a hundredth part of Norr-
land has been cultivated ; thus almost the whole country is still in a wild
state. As has just been mentioned it has only recently been 'discovered'. Out
of the slumbering millions' a good many have certainly woken up and travelled
on the Ofoten line to Narvik or down the rivers to the saw-mills in order to be
transformed into the gold which the country is so much in need of, but those
beauties of inestimable value which the Norrland Nature possesses are still
slumbering. The rivers may have rolled along down to the sea for thousands
of years, but, before a poet or artist has sung or painted the sense of eternity
which is aroused by the water quietly flowing by in the shadow of the pine
forest, these mysteries do not reveal themselves in their fulness to us ordinary folk.

The scenery of Gastrikland, which corresponds to that of Dalarne, and,
strictly speaking, does not belong to Norrland, has been described by Erik
Hedrerg. He seizes hold of the beauties which for an understanding mind
may lie in mean things.

Harjedalen and Jamtland, which from 1111 to 1645 belonged to Norway,
also resemble that country in character. The desolate beauty of the former
province has still to wait for its discoverer. Nor has Jamtland played the part
in Swedish art which it deserves. It is true that Anton Genberg has painted
the white-patched hills, standing out in violet against the sunset sky; but
the fertile country round Storsjon (the Great Lake), the characteristic form of

46

THE AMAARKN IN OLAND On. paintixc nv NILS KUKIGKU

\T 'IIIK AUTISt's

Mount Areskutan, and the Tiinnforsen Falls booming in Ihc silliness of the
niounlain region, though known all over Sweden, have not yet enticed our art-
ists, who look askance on too easily intelligihle 'view" motives. It is as if they
thought that their beauty was obvious enough anyway.

Northern Sweden is ol' .such enormous extent that, geographically speaking,
the district round Lake Storsjon lies in the centre of Sweden. When one
speaks of the beautiful Norrland, it is really these three things one thinks of.
Mount Areskutan with the Tiinnforsen F'alls, the rivers, llowing down the val-
leys, cutting their way through earth and sand, and the mountains and Torne-
triisk marshes in Lappland. All this has, ol course, been rendered in picture
during the last decades, hut not in such a manner that it bears comparison
with what has been painted in the more southerly j)arts of the kingdom. Cxwi.
Johansson has painted the ([uiet, serious lines of the ri\er landscape, the edges
of the asar (ridges) against the sunset sky, and, most often of all, the beautiful
river, Indalsiilfven, which flows through Jamtland and Medelpad. A trip up
either of the two rivers Indals- or Angernuuialfven, first by boat, when the
logs of timber, sliding down to the saw-mills on the coast, knock against the
sides of the boat, and afterwards by carriage through the river valley, is one
of those things one must do, if one wants to get to know Norrland. One some-
times hears miles off the booming of the falls, like an 'organ chord", as Pelle
Molin has it, emphasizing the sense of eternity.

For thousands of years the forest has been left to grow and rot uncared

li:iO"3fi Stoeden through the nrtisl's eye.

47

for. Now a new America has burst into the stiUness, carrying in its train un-
expected profits and equally unexpected crashes, stripped and devastated re-
gions, spoliation, and social and political strife. Recklessness and savagery
have doubtless always been found in Sweden. People had ravenous appetites,
and they eat ravenously too when there is food to be had. When the timber-
woi-k of the cottage groaned under the severe cold, people longed for some-
thing to warm them up. In good times the Norrland woodmen drank cham-
pagne from time to time with their American pork, and the peasants who had,
for a few thousand kroner, parted with their farms, worth, with their forest
land, hundreds of thousands of kronor, kept the notes locked up in the drawer
only for a short time, and then spent them before they knew what they
were about. The Swedes are not a commercial people, and in that respect the
Norrlanders are true Swedes. As early as 1600 Anders Buraeus wrote of his
country-men, the people of Angermanland, that they are slow in all their
commerce', and it is still almost impossible to bring a Norrland peasant to the
scratch over the smallest commercial transaction. Mir nichts und dir niclits,
so haben wir alle beide nichts" (Nought for me and nought for thee, so there's
nought for both you and me), was the motto which king Charles IX deemed
applicable to Swedes, and the Norrland peasant would rather let his ptarmigans
go rotten than let the buyer make any profit on them himself; but hospita-
lity, that beautiful barbarian virtue, is exercised more in Lulea than in Paris.

However, the beauties of Norrland scenery are greater than those of its
civilization. Stora Harspranget, the most powerful water-fall in Eui-ope, in Jock-
mock parish in Lappland, is a thing of greater beauty than the modern Sunds-
vall architecture, but there is a province in Norrland, the largest in the whole
of Sweden, which possesses both an exquisite nature of unfading charm and
a grand ancient culture. It is Lappland. In Swedish art Lappland has been
rendered in Hockert's, P. D. Holm's and J. Tiren's pictures. As to Hockert,
though his paintings are excellent from the purely technical point of view, in
his 'Lapphut" in the National Museum, we see that the Lapp mother bears far
too much resemblance to a Paris model; on the other hand his "Wedding at
Hornavan" renders admirably the wild carousals of a primitive people, when
the bride on the leaf-decked boat lands by the shore. In "Lapp Chapel" in
the museum at Lille he has painted the Lapps, a people readily and powerfully
affected by religious impulses, listening to a sermon.

When the Swedish people for a generation or so had been interesting them-
selves in what "the new Sweden " looked like when looked at through the eye
of a banker, and had been reading so much about interest yielded by waste

48

l;iml, ;iihI vexing llrcir souls ;il llic [tiiilils wliicli eneiHy mid lar-sifililedness had
al k'liglli siuoet'did in wiinj^infi tiom llie fjieal iron ore mountains al Gclli-
vare and Kirunavara, lowcrinf^ aiol'l aliove the plain, people began to discover
these regions also from the arlislic point of view. The curious contrast l)el\veeri
the primitive jjeople wIki IukI IkmI ihe desert-like stillness of their country
dislurhed by hiasis of dynaniile, who, as Ihey made their way over Ihe snow-
covered plains saw Ihe electric light shining on the mountains, is rendered
slill more striking by the silence and desolation which envelopes these mining
comnuinilies within Ihe arctic circle. Caui. Wimiki.mson has on a large canvas
represented the blasting of the ore in the open air (page 44). Helow, one sees the
surface ol' Lake Luossajarvi and a more extensive view than is generally all'orded
when the ore is mined within the bowels of the earth. The air is also con-
siderably fresher on Mount Kiruna. In winter it is dark in Ihe middle of Ihe
day, and then one has to work by electric light. Kaiu. XoitnsTuoM has painted
the beautiful lines of Mount Kiruna, when the great iron ore mountain is aglow
like red-hot iron in the light of the setting sun. Princ.f. Kic.en has rendered
the same mountain, when covered with snow; and (he whole of the district
where the Lapps drive their herds of reindeer along Ihe railway, and the trains
passing along it laden with ore have been drawn by Ai.hi;i{t I-^ngstrom, who.se
temperament is in a ([uile extraordinary degree alUined lo liie s|)iril of Uie
w'ilderness and the inner life of a primitive people.

Our civilization is death lo the Lapps. When from Abisko one gazes out
over the Tornelnisk marshes and on the banks sees the grey herds of rein-
deer browsing on the plains, and amid the mountain birches catches a glimi)se
of some dark-blue Lapp costumes, one thinks sorrowfully how ere long the last
Lapp with his quaint gait will be waddling along among the dwarf-birches,
shrunk and shrivelled like himself, and disappear under the llaming Xorlhern
Lights (Aurora borcnlis) in his piilka, leaving the Swedish hnl, where he so
contentedly and cheerfully carved his roast reindeer joint with an ornamented
knife, driven forth by forces which he cannot comprehend, much less resist.
Then Sweden will have sutTered an irreparable loss, ('civilization has forced
its way, riches have increased, and then one day our hour will come, when
the cold has increased and driven us south again. It is this thought which is
voiced from Kiruna church-lower in Albert Engstrom's words:

Rise, curfew, up to the sun, lo the North-Lights circles wide,
l^ouse sleeping lielits, wake slumbering moor and hcatli.
And bless the fields whose fertile soil doth bide
The ploughman's toil, and grant them peace hereafter.

49

The two large islands in the Baltic, Gottland and Oland, are both in their
nature and their culture of a peculiar beauty, which is appreciated by the artists.
With its mild climate, and consequently southern vegetation, with its rocky soil
of limestone and sandstone, the Gottland landscape differs from what we are
accustomed to on the main land of Sweden. In Gottland is situated the most
picturesque of Swedish towns, Visby. Even if Gottland's greatness is now

historic, yet many old traditions from an-
cient times survive among the people; an-
cient traditional games and old folksongs
and melodies still live a vigorous life on
the romantic island. The artists have been
attracted first and foremost bj' the pe-
culiar architecture that flourished in the
Middle Ages not only within the stately
ancient walls of Visby, which with their
hanging towers and bastions still stand
erect and almost intact, but also in the
romantic ruins of the churches of the
transition period, which are an ornament
to the island. Like a Northern Cj'prus or
Siciljr, Gottland was once the centre of the
Baltic, where currents of culture from dif-
ferent quarters ran together, and the trad-
ing fleets of Visby collected gold on all
the coasts of the Baltic. Gottland is from
the architectural point of view the most
interesting province in Sweden. In the
rural parts of the island there are an extraordinarily large number of churches
erected during the Middle Ages with architectural details peculiar to this island.
The Gottlander Axel Herman Hagg and Robert Haglund in their etchings
have depicted the Visby ruins, which it was proposed in 1783 (a period
which was lacking in historical sense) to pull down, a proposal which fortuna-
tely was not put into execution for want of funds. Even poverty may have
its blessings.

Hanna Pauli, and more particularly Richard Bergh, have painted the town
wall of Visby, one of the most remarkable historic relics in the whole of Scan-
dinavia.

Oland, the smallest province in Sweden, the long and narrow'island off the
coast of Smaland, has been described with keen power of observation and
powerful realism by Carl von Linne (Linnaeus), perhaps our best descriptive

AUGUST STRINDBERG Painting by

RICHARD BERGH

IN THE POSSESSION OP THE
PUBLISHER K. O. BONNIER

50

STOCKIIOr.M CASTLK

PAiNTiNf, iiY PIUN'CE El'CEN

IN THE r.lA'n-ROt>M O!" THR STOCKHOLM "wTIOn", AT ri*l*SAI,A

writer, who in 1741 undertook his celebrated jonrney to Oland. The Olander,
Per Ekstrom, the painter of the ghttering sunshine has painted a nuniher of
scenes from that poorly-wooded island, from which one sees the sun and the
sea almost from all parts. The mediaeval castle of Borgholm, which was rebuilt
by Nicodenius Tessin the elder by order of Karl Gustaf, was never properly
finished. Up on the citadel, where sea-walls sloping precipitously down to the
sea afford an extensive view over the water and over the bare plateau of Aif-
varen (Chalk-heath), stands the old castle, which has been rendered by several
artists, amongst others Prince Eugen.

But the painter of Oland is Nils Kreuger, one of the foremost artists in
Sweden, who has shown us the richly-coloured beauties of the remarkable
scenery of Oland, and painted the horses wading in the dark-blue water, the
cattle clipping the short grass on the parched brown plains, and the sheep
seeking shelter from the wind behind the red limestone walls. There is some-
thing of the desolate grandeur of the desert landscape about the plateau of
Alfvaren, and both the latter and the luxuriant vegetation on the strip of shore
below the citadel have received the most artistic interpretation in Kreiger's
paintings (page 47).

51

The small rural towns of Sweden have, owing to the outrageous way in
which they have been treated lost much, sometimes all, of the homely charm
which once distinguished them. Being, until quite recent times, built of wood,
they have been devastated by fire more thoroughly than towns built of stone.
The rapid development which Sweden has undergone during the last forty years,
has also fostered an inclination for violent innovations, and it is not until re-
cently that aesthetic considerations have won the ear of practical men. Our
architects, who bj' their restorations of the cathedrals of Uppsala and Lund and
other towns have almost entirely spoilt these venerable monuments of the past,
are now devoting themselves with keen interest to preserving what still remains.
Gothenburg, the second largest city in Sweden, has managed to preserve a number
of the canals which remind us of the Dutch ideal which prevailed when the
town was built in 1619 with the aid of Dutchmen. The canals have been
painted by Reinhold Norstedt and Axel Erdman. On the main canal stands
the Gothenburg Museum, accommodated in a house in which in the 18*'^ century
the East Indian Company had its main office. It was this company that in-
troduced the large quantities of Chinese por-
celain, which still lend a refined old-fashioned
tone to many a Swedish dinner-table. The
Museum is specially rich in modern Swedish
art, and those who are interested in Swedish
paintings will have to patronize it thoroughly.
Swedish painting is deeply indebted to patrons
of art in Gothenburg, most of all to Pontus
Fiirstenberg. On the heights round the town
there still stand the picturesque redoubts,
Gota Lejon and Kronan, the latter erected
from designs by Erik Dahlberg, the man
who guided the Swedish army over the Belt.
The harbour of Gothenburg, with the largest
mercantile fleet in Sweden, has been painted
and drawn by O. HoLMSXROiM.

Some little distance above Gothenburg, and

like it on the river Gota alf, lies Kungalf, in the

Painting by shadowoftheBohuslan hills, paintedbyHANNA

LOUIS SPARRE Pad LI in what is perhaps the most beautiful

picture representing a Swedish country-town.

On Lake Vattern lies the garden-city Grenna, where the gardens among the

white rows of houses along the high road, which is the main street of the town,

groan under pears and cherries. Grenna, like one or two more of our smaller

LE.IONBACKEN

52

VERNEH VON HEIDKXSTAM IN HIS HOME AT DJriiSHOI.M

I'aimim, nv OSCAH li.lOliCK

IN ■1III-; (M>l'IIHMll'ItG -Ml'SKfM

towns, lias the soinewluU unusual advantage of "heing in the country"'. Ai.fhki)
Bkrgstrom and Li:nnart Nybi.om have painted the (irenna dislrict. In Vad-
slena, whose ancient castle has heen painted hy Oscau B.ioiu.k (jiage 3.'^), there
are still preserved some relics of the Middle Ages. Blakyrkan Uhe Hlue Church)
built by si Birgitta (Bridget) in bluish limestone after the directions of Christ
himself, carries the thoughts to the cloister founded hy S! Birgitta and reminds
one of that Swedisii woman of the 14*'' century, with her powerful personality,
who with Teutonic frankness was not afraid to speak her mind even to the Pope.
A cluster of our most interesting small towns lies around Lake Mfdaren.
Sigtuna boasts of being older than Stockholm. Its period of glory was in the
12"' century, and its numerous church ruins give the melancholy of fallen great-
ness to the little homely town, whose grass-grown market-place has now been
gravelled, in order that the inhabitants of Sigtuna might escape hearing
tlie awkward question: "Has there been good pasture for the cows in the
market-place this year?" Mariefred lies dreaming with her small wooden houses

53

at the foot of Gripsholm, the most imposing castle in Sweden. The high walls
tower aloft defiantly, and the castle, which was erected by Gustaf Vasa and

where his sons held each
other confined, where Gustaf
III had his dainty theatre
erected, and where the side-
scenes, against which the
figures of the courtiers, as
they acted, once stood out,
are still preserved, is one
of the most remarkable
monuments of the past in
Sweden.

For Swedish ears the
very names Strangnas, Ar-
boga, Koping, Vasteras have
a ring of idyl and of history,
and it is remarkable that
they have not been more
frequently depicted by our
artists. Hesselboji has
painted the old town of
Strangnas, and its red ca-
thedral towers, round which
the daws flutter.

Inestimable beauties
have been irreparably lost
through the irreverent way
in which our cities have
been handled, but one can still say of the homely old town of Ystad, which,
as Linne writes, "lies right in the middle of the south side of Skaneland'', that
there are quite a number of old houses in the town". It will be the chief
duty of our times to preserve as far as possible the old-fashioned half-timber
houses, and the old town-plot.

The two university towns of Uppsala and Lund are richer in historic me-
mories than in remarkable architecture. The cathedrals of these towns have
lost their interest for the artists after their restoration, and it is chiefly with
lyric poetry and music that Uppsala is associated. On Valborgsmdssoafton (eve
of Walpurgis Night) the white-capped students march in procession through the
avenue of Odinslund, and the hymn to spring mounts up on the clear frosty

RIDDARHOLM CHURCH
ON A SPRING EVENING

Drawing by
KARL NORDSTROM

54

evening, up to the few slars which are lo he seen twinkling in the sky, and
llic honlires gleam here and there on the Uppiand i)lain.

Slockliolm is the largest and most Ijeaiiliful town in the peninsula. It is
worshipped, as is only right, like a heaulilul cjueen, and treasured by the whole
of Sweden like a gem. It has been described with most insight by those who
have passed their childhood in its islands and played in its market-places, by
Stockholm's own children, Hellman, Slrindberg, Cahi. Lahsson, Oscar l.everlin.
Hjalinar Sodcrberg, I'hinc.k Kigen. Even if we do not always see "that Stock-
holm woven of sun and songs , which one may see for brief moments,

if one is youthful and a poet", at any rate the poets and artists have with their
magic wands revealed to us many of the beauties which now enhance our
love of the lovely city, which above others is the possession of the whole
of Sweden.

Of that Stockholm which in 152.'5 decked itself out in birch-leaves to greet
young King Gosla (Gustaf Vasa), not much is |)reserved. The old palace - "the
main-building", as it was then modestly called, where Gustaf Vasa ruled in the
literal sense of the word, is no longer in existence. When Gustaf Adolf left
this palace in order to defend Sweden at Breilenfeld and Li'itzen, and give his
life, as he said himself, "for the glory of the fatherland and God's church which
therein rests", he wished on behalf of the citizens of Stockholm ' that your small
huts may become large stone houses, your small boats large ships and vessels,
and that the oil in your cruses may not run dry". And in fact Stockholm
made enormous strides during the period of Sweden's greatness.

It was when this period was drawing to a close that the new palace, the
creation of Nikodemus Tessin, was begun. It has been painted best, |)er-
haps, by one who was born within its walls, Prince Eugen, who has rendered
"the venerable cube" in a large picture, in which one sees Stockholm Gaslle on
a summer evening (page 5l). Over the dark waters of Sliomnien ('the stream")
hover a few gulls, descendants of the birds who flew over the town, when
Bellman one morning in 1780 described the harbour of Stockholm as follows:

In ])ulleys and ropes you licar not a creak;
The morn is young, round the masts you spy
High up in the air so breezy and bleak
The sea-gulls soar and fly.

Most of those who have described Stockholm from the artistic side have
selected for treatment the harbour and the busy life which centres around if.

55

In contrast to otlier seaport towns, the large steamers anchor in the very
heart of Stockhohn. Imposing granite quays run along the shores both of
SciUsjon (the sea) and Lake Miilaren, but even if the idyllic charm which
characterized the Stockholm of the 'forties and 'fifties, such as it was painted
by G. V. Palm, has now in a great measure disappeared; and even if we do
not now, as then, row about on the Riddarholm Canal and strike up ditties
under the arch of the beautiful old Riddarholm bridge, where Riddarhuset (the
house of the nobles) mirrors its baroque facade in the canal; yet it may happen
that by the clump of trees down by Riddarholm harbour, one may hear the
song 'Captain, set full steam ahead', struck up by the societies and associations
which on Sunday mornings take a trip in one of the many Malar-boats
"out to the country, out to the birds", doing homage to nature with that some-
what bibulous sentimentality, which in our days is rendered affecting, to a
cei'tain extent, by the sanction of antiquity with which it is invested. The part
of the harbour called Stroinmen has been painted by Axel Lindman in a big
picture, full of steamers and sailing-boats, of sunshine and sparkling water.
When that picture was painted, August Strindberg, our greatest and most
original delineator of Swedish nature (page 50), had given us in his novel ,,R6da
rummet (The red chamber) and the series of short stories called ,,Giftas
(Marrj'ing), a new and fresher view of the beauty of Stockholm, and one ap-
preciated more than ever the spring mornings when the vessels, painted red
along the water-line, tugged at their hawsers and ropes. Anders Zorn dis-
covered and pointed out the curious rings and lines of the gurgling water, and
he has immortalized a summer evening in 1890, from one of the most beauti-
ful points, Skeppsholmen. In the foregi'ound one sees some ladies walking
on the holm, and the background is taken up by the Stroinmen, which is
perhaps most delightful of all on a June evening, when the scent of lilac from
the hedges mingles with the fresh breeze from the running water, and when
a few bars played by the orchestra in Stromparterren go to join the murmur
of the stream. The harbour in winter-time has been painted by Oscar B.i6rck
in a brightly-coloured picture, exultant like a trumpet-note. The snow set off
against the black hulls of the boats and with the picturesque silhouette of
Skeppsholmen has been painted by Alfred Wahlberg, and finally Per Ek-
STROM has rendered the majestic lines of the Palace seen through the snow-
storm over Norrstrom (the norlhstream).

Only on the condition that one is prepared to grant that Stockholm is a
very nice place in winter, morning, noon, and evening, and at night, too, can
one allow that 'Stockholm is a summer town'. The elegant, white steam-boats
go out over the green water to the country houses in the skdrgdrd, crowded
with merry people. The Stockholmer considers himself, let us hope rightly, to

56

HIDDARFJARDEN ON A SUMMER XIGHT

Oil painting by EUGEN .lANSSON

TllOnSTEN LAUniN'S COLLECTION. STOCKHOLM

be far more lively than the man from Harjedalen, and even than the Gothenburg
man. The cool sea-air blows in refreshingly not only over the lawns in the
park Kungstradgdrden, when the water sparkles and foams over the shell-shaped

57

edge of the fountain, but also among the narrow alleys leading to the crooked
old streets called Vasierldnggatan and Osterldnggatan. The latter has been
painted by Eugen Jansson on an early morning in summer, when the sail-
makers' flag-canvas hangs motionless, and the footsteps echo on the pavement,
and the old mediaeval Stockholm street, which otherwise has for centuries been
crowded with loafers of the most fast colour, for a few early morning hours
is full of naught but mysticism.

Stockholm is a watery town, even if one often mixes soijiething strong in
the water. There is good drinking-water and excellent mineral water, which
latter is copiously drunk, not tossed off in American fashion, but leisurely. It
is an innocent pleasure with a glass of 'vichy-vatten' in front of one to look
out on the world, or at any rate on Target (the square i. e. Kungstradgai'den),
from the bench, which has won literary fame through Hjalmar Soderberg's novel
'Doktor Glas'. The excellent bathing-establishments, with both hot and cold
baths, invite one to still more revelling in water. Eugen Jansson has in two
sunny pictures painted the interior of one of these Stockholm swimming-baths,
when the sunburnt bodies give us a strong impression of our national healthiness.
The dives are often performed with such skill and agility, that an impression
of real beauty is produced. Stockholm has been excellently depicted by Axel
Erdman. He has painted the street Gotgatan, where the peasants come driving
in from the country to sell their wares in Kornhamnstorg market-place. Erd-
man has a sharp eye for the picturesque charm of the old market-women, as,
muffled up in their furs, they sit hour after hour at their stalls, serene and
placid, till the disappearance of a chicken puts them in a passion, or an urchin
who has stolen an apple makes them ti'emble with moral indignation.

Staden inom hroarna (the city within the bridges i. e. the city proper) was
once all that there was of Stockholm, and in this part of the town, where now-
a-days there is a busier and livelier traffic than elsewhere, we find our oldest
and most beautiful buildings. The harbour-life in the present-day Stockholm
has been depicted in Carl Wilhelmson's "Scene from Skeppsbron", a fresco
painting in the post-office. The baroque facades of the 1?"' century have
been painted by Louis Sparre, who has also depicted the imposing entrance to
the Palace, Lejonbacken (the Hon hill) (page 52), with its bronze lions, which
as early as the 17*'^ century ornamented the old Stockholm Castle; and in a
series of drawings, water-colours, and oil-paintings he has drawn the attention
of Stockholmers to the fact that, unless we adopt as firm a tone in defending
things of historical and esthetic value, as we do in things whose value can be
more easily estimated in money, there is still much that we may lose.

Sparre, Erdman, and Gerda Wallander have painted Kornhamnstorg with
its stalls and gables. In a large picture in a board-school in Stockholm

58

Nils Kui:r(ii:u luis painlcd a scene from the harbour of Stockholm on a iniri-
summor eve, seen fioin "Sliissen". llio loek. It is a sunny morning. A frosli
breeze is blowiufj over the water. In the loresround one sees some carls deckcfl
with {ireen in iionour of the day rumbling over tiie cobble-stones. There is a
festive note in liie air.

Kiu:i'Gi:u has several times painted the most beautiful bridge in Stockholm
and, in fact, in the whole of Sweden, Norrbro, which connects Norrmalm (the
North Knd) with Staden (the City). This imposing structure, which was built
during the early years of the 19"' century, owes its origin to Ani;i,CRANTz, the
architect who created the most beautiful opera hall in the world (now. alas,
pulled down), where (nislaf III fell the victim of .AncUarstrom's jiislol. Norrbro
is beautiful at all times in the day, but perhaps most of all on a summer
evening, when, as Snoilsky says in his poem on Stockholm, 'from the swirling
waters under the bridge a strange hushed note is heard to go piercingly through
the air', and the electric lamjis cast their silvery light over the tojjs of the trees in
Stromparlerren. No less beautiful is the view afforded a few hours later from
the northern part of the bridge, where one sees Strdntnicii, the Palace, Mlasie-
holmen, and Skeppsholmen. Everything is 'in tone' in the light summer night,
and it makes a mystic impression to sec tlie facades lighted up Irom a ipiarter,
which the Stockholmer, however often he may come home late at night, or ra-
ther early rn the morning, is after all not (jiiite so used to. Heimioi.o Nohstkdt
has represented this subject on a very large picture. The same ])ainter shows
how art can cast its enchantment on the more sober facade of a business house.
If one takes an outlook from Boberg's creation, Rosenbad House, which mir-
rors its yellowish-white walls and its green-glazed roof in the Norrstrom, and
which is one of the most beautiful things which have in recent times been
built in Stockholm, one sees on a February afternoon the ice-floes from Lake
Malaren come travelling over Stronuuen and sailing under ^'asa Hridge. It is
the hour which we moderns find so alluring, when it is not yet dark, but the
lamps are beginning to be lighted. There are already lights in a cou])le of win-
dows in the Norstedt printing-house.

People in Stockholm make pretty hard endeavours to enjoy themselves, and
no doubt often succeed. Skansen is perhaps the nicest place of entertainment.
It is not so easy to say which is the least nice place, but, if we judge by the
amount of alcohol consumed, one or other of the public-houses where 'Bobban'
and 'Feta Fille', and other of Albert Engstrom's favourites seek happy oblivion
after their own fashion, will serve as a counter-poise. The haunts of pleasure
have not often been rendered in art. From Skansen. however, we have Zorn's
amusing picture of the Delsbostintan (peasant-girl from Delsbo) telling a story;
but from all our Stockholm theatres there is nothing at all, not even from

59

the new Dramatic theatre, which itself, however, has many good works of art
both outside and inside. As for the international life of the circus and music-
hall artists, Gosxa von Hennings has given us some very valuable pictures,
but this has little to do with Sweden seen through arlist eyes. Hennings has
also painted the 'punch-drinking' on the Opera terrace, and it is said to be
one of the most Swedish things imaginable to sit on this terrace and look out
on a beautiful view, one of the most beautiful in the whole world, Stock-
holm's 'strom', to the accompaniment of a string-band plaj'ing our melancholy
folk-songs, all the while drinking punch quietly and steadily, and from time to
time breaking the silence with a "Skdl i alia fall!" (your health, anyway).

Although there are not a few old, and a great number of modern, beautiful
houses in Stockholm, very few of our now-living artists have rendered Riddar-
huset (the house of nobles), Borsen (the Exchange) in Stortorget and the old Riks-
hank (Bank of Sweden) in Jarntorget. There is a good deal of 'stdtnning' in
Karl Nordstrom's drawing „Riddarholmen on a Spring Evening ' (page 54).
The little holm, which contains so many reminiscences, lies in proud seclusion,
with its square silent. Every detail on the old brick walls of the church has
a story to tell. Magnus Ladulas once washed to be allowed to sleep the eternal
sleep behind the red walls of Riddarholm Church. On the Gustavian mortuary
chapel one reads in. faded lettering the words dedicated to Gustavus Adolphus:
„SVECOS EXALTAVIT. MORIENS TRIVMPHAVIT", and on the copper roof of
the Caroline sepulchral monument the golden crown gleams in the evening sun.
Down in the coffin with the lion skin and the club of Hercules lies, with head
shot through, king Charles, the young hero, who once with such stubborn re-
solution set fate and misfortune at defiance.

Many beautiful buildings have been erected in recent times. Among the
best are the General Post-office, designed by Ferdinand Boberg, the building
of the Trygg Insurance Company, whose massive forms are descried over the
tops of the trees in Humlegarden Park, designed b}' Lallerstedt, Nordiska
Museet designed by Gustaf Clason, where the style of the Vasa Period is con-
nected in a beautiful and ingenious manner with the style of our old belfries,
Ldkaresdllskapets hus (the premises of the Society of Physicians), designed by
Carl Westman, in the old Klara churchyard, where reposes Bellman, the
poet who has seen the most beautiful visions of Stockholm, and finally the
Ostermalm High School by Ragnar Ostberg, the most monumental school-
building in our country, rich in good art both inside and outside. These build-
ings still lack, perhaps, the patina of time which painters deem they need be-
fore they can depict them; but the most commonplace blocks of modern houses,
tenement-buildings, and straight half-finished streets have furnished motives
for the art of Karl Nordstrom, Aron Gerle, and Eugen Jansson. These

60

artists put sometliiri}^ passionate into tiieir colouring, Ihey breathe a modern
spirit of beauliful defiance into their pielures ol' these parts of the town which
seem iiopelessiy dreary to the layman, and leach us thai Ihey too have their
beauty. Many Slockliohners, artists and men of letters perhaps as much as
any, live outside the town. They look out over the waters of Stora Varlan
from Djursholm (page 53), of Lilla Vartan from Lidingo island, and of the inlet
to Stockholm from the park Djurgarden. It is in Djurgarden that Phince Eugen
has his residence, adorned with the best thinj^s that modern Swedish art has
created. Here the artist-prince paints this natural [)ark, its oaks, nieadows, and
bays, at all times of the day and the year. Perhaps one might say that he
has the very best historical, cultural, and above all artistic, (|ualirications for
seeing Stockholm with artist eyes, when from Valdemarsudde (N'aldemar's |)oint)
he gazes at the town raised above the surface of the water.

The Stockholm painter who in his pictures has caught tiie most subtle es-
sence of the city's character, an artist who in his glorious symphonic picture-
poems has shown himself to be a real innovator in landscape {)ainting, one of
the very foremost delineators of nature now living, is Eugen Jansson. He looks
mostly out over Stockholm from the heights of Soder (the South), and perhaps
he has rendered the city most beautifully and most monumentally in the
masterpiece in Carl Robert Lamm's collection, where the afternoon sun pours
its golden rays over Riddarfjarden, Kungsholiuen, and the red factories in Soder.
In Eugen Janssons landscape-art we find many of the most Swedish charac-
teristics, melancholj', yearning, love of gaudy colours, a touch of lyric and mu-
sical feeling, something at once soft, defiant, and world-embracing. Jusl as one
of Bellman's drinking companions in bis death-hour sings,

„Uright starry firmament, vault around nic now",

SO does one of Eugen Janssons pictures arouse in us a feeling of the temporal
seen sub specie aeternitatis. He has made many pictures of the view from his
windows high up on the hilly ground in the South (page 57). Most of them
are in Ernst Thiel s rich collection. Now he shows us an afternoon in winter,
when the boats have opened up a channel in the ice of the bays and the last
rays of the sun gleam on the windows of the Palace: now he carries us to sleep,
lonely, streets with wooden steps, mysteriously lighted by the gas-lamps; now
we gaze as in a dream upon the water gleaming in the darkness, lighted up by
the gaslight and the electric lamps, which border the quays like so many
gleaming bluish-green jewels.

If one goes on a summer night out into the streets, or into one of the small
plots of garden which are still to be found on the hilly ground to the South

6 — ]j:iO'2G Su'Cilen //iroiig/i the artists eye. ni

of Stockholm, one has beneath one the arm of Lake Malaren and almost the
whole city dreaming in the light night. The houses and spires of Riddarholmen
stand out against the sky, which is ever growing lighter. Stockholm is sleeping,
the noises have died down, the workmen have left their clattering steam-
winches and iron bars, the sailors are sleeping in their fo'csles, the bands in
Kungstradgarden and Stromparterren have long since ceased playing. Then is
heard from the tower of Riddarholm Church, where Fredman once with trembling
hands mended the clock-works, the clock striking the hour with a sound
which rings over the water and the town. One thinks of the great who sleep
in the church vaults, of those who have fought and suffered, and sometimes
given their lives, for Sweden. The sound is carried over the whole sleeping
city, which has now for hundreds of years been the centre and greatest trea-
sure of the countrj'. One remembers all those who have thought, written, and
worked down there in the town, and one's thoughts go out over the country to
the scented haycocks of Sormland, to Norrland where the pale light of the
midnight sun shines over the ore mountains and the summer huts of the Lapps,
to the beech-woods in Skane, to all our vast country lying there in the sum-
mer night, to the people in the red cottages, to those who have toiled in the
stony ground. One thinks also with gratitude of those who in song and art
have shown us the beauty and the value of what we have owned, still own,
and still wish our descendants to preserve, and in our hearts wells up the con-
viction, at once earnest and joyful: I love Sweden.

62

PICTURES.

GUSTAF AXKARCHOXA 1). 18()<),i

The Sleigli-hells lin^'lc on tlu' l'|i-(lrivc 34

RICHAIil) I3i:i{GII 1). 1.S.-.S

Sumnier Kvenin.;«. Scene Ironi LidinnOn 15

August Strindberj; black and while 50

OSCAU liJOHCK lb. ISOOi

Vadstena Castle 33

Verner von Heidcnstani in liis Home at njiirsliolni 53

ALBKUT I-:\GSTH0M b. 18G9

Sea-bear. Drawing ii)laclv and white 12

Old Peasant Women. Drawing (black and while 24

Lapp. Drawing black and wliitci 43

PRINCE EUGEN b. 1S65)

Entering the Harbour 11

Stockholm Castle .')1

GUSTAF FJ/ESTAD ib. 1868

Is the Spring never coming"? (In the po.ssession of the sculplor
C-hrislian Eriksson." See the cover.

GUNNAR HALLSTROM (b. 1875)

A man binding on Skis. Drawing iblack and wliite 22

Lucia treats to cofTee on the ISlh December black and wliile^ 31
Tug of War (black and white^ 32

OTTO HESSELBOM [h. 1848)

Our Country 9

EUGEX JANSSON 1). 1862)

Riddarfjarden on a Summer Night 57

NILS KREUGER b. 1S.")S>

The Alfvaren in Oland -17

CARL LARSSON (b. 1853)

My Family 16

Fishing for Cray-fish. Water-colour 19

A Vil<ing Expedition. Water-colour (black and white) 35

Interior of a Cottage at Rattvik. Water-colour (black and white) 36

BRUNO LILJEFORS (b. 1860)

Sunrise 13

Huntsman on the Alert 29

Elks. Drawing (black and white) 42

KARL NORDSTROM (b. 1855)

Easter Bonfires 23

Riddarholm Church on a Spring Evening. Drawing 54

ERNST NORLIND

Farm in Skane. Lithography (black and white) 17

REINHOLD NORSTEDT (b. 1843)

Birches, »Hage», in Sormland 26

EDVARD ROSENBERG (b. 1858)

March Eve 30

LOUIS SPARRE (b. 1863)

Lejonbacken at Stockholm Castle (black and white) 52

EMERICK STENBERG (b. 1873)

Bjors-Mia 39

CARL WILHELMSON (b. 1866)

Church-goers in Boats. Picture from Bohuslan 25

Labourers 37

Miners on the Mountain at Kiruna 44

ANDERS ZORN (b. 1860)

Out in the open 20

Mid-sufivmer Dance ; , 40

Kings-Karin 43

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